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workflow für proxies 5dmII oder 7D oder 550D Final Cut

workflow for proxies 5DMII or 7D or 550D Final Cut



Frage von julius_karli:
März 2011

hi
I work far more rohfiles ALL of a project as ProRes 422 have converted well to cut it in final, I am for my current project (; with "useless" very many rohfiles) on the search for a suitable workflow.

I would like to: zb

1000 h264 rohfiles of 5DMII in ProRes proxy convert 50% size
then cut in Final Cut Pro
if the cut is looking to get ready, Final Cut Pro, he finished the cut in full hd as ProRes 4444 of the originals h264 rohfiles than 1 file plays out!
(; Please nodiskussionen ProRes 4444 makes sense whether or not)

Sounds complicated, but always eats all rohfiles as ProRes HQ 4444 or convert my resources too much.

thnx jules.



Antwort von Axel:

* * To my knowledge (but not far enough), there are noautomatische transfer only used clips from the clips, but at least there is a consolidation of the project, so that "unused media" are deleted.

First, it is in the Log and Transfer "has already hit a rough pre-selection. You cut it in proxy offline, copying the sequence into a 4444 Time Line and take all - Clips of 1000 new in 4444 - ähhm. Then you delete the Media Manager by using things that are not required immediately.

Alternative: You cut natively. Is not very fast, but goes well. So you have something for transitions and meat ("Processing Margins"), you do A / B interface in two video tracks. The two tracks you export as 4444th
EDIT: Since admit into the section in the good old native Final Cut Pro for a few minutes in the sequence as Fußnägelkürzen is with a bolt cutter, you could try a combination: Transfer all the clips to proxy, and indeed, without them to rename. Cut set, offline (move files from the Proxy Capture Scratch) and "re-connect media", where you specify the path to the DCIM folder. You could H.264 in a 4444 timeline and let'd have to render * theoretically * until you're done in Color. Mach's take a test to see if it works out.
EDIT: The case shows why Adobe nose with native-section front (we hope FCP8), but because it is not the other, the quality unmatched ProRes options has, is missing again, would like to say Mr. Rossi, "a piece of luck" .
Quote:
(Please nodiskussionen ProRes 4444 makes sense whether or not)

Previously, movies that do not hush hush as of any consumer codec, but renders as in animation (for FullHD I think about 1.5 Gbit / s), anyway, for, well, animation and compositing. In Lynda Training for Motion states confidently import of H.264 a DSLR, but then render in 4444 (I think around 500 Mbit / s corrected me). The Apple manuals recommend in doubt, the highest quality. Conversely, I can not imagine that the difference of HQ is relevant for any purpose.




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